This is an excerpt of an original. It is not however, a partial object, but rather, a fully realized thing that engages a special relationship to its own ignorances. A shadowy figure in the distance, approaching slowly.
This is a solo dance performance weaving together two distinct lines of research.
Nudity, embodies a concept of nudity positioned by contemporary philosopher Giorgio Agamben in his essay ‘Nudities’. His claim that the first nude, framed theologically in association with the Fall in Genesis, was a point where humanity first acquired its capability for knowledge. With this positioning of an origin of knowledge, the work itself equates this same position to an undertaking of language and the birthplace of desire; the nude body as one that discovers its ability for language and its instincts for communication.
At first the body is suspended in grace, in its vanity of divine ignorance, the body discovers its nudity when confronted with the knowledge of its humanity. This “metaphysical transformation” at the point of the the first nudity described by Erik Peterson in his ‘Theology of Clothing’, rethinks this notion of the fall not as an acquisition of knowledge but rather, an unveiling of a divine grace. So the body must lose something in order for the “opening of the eyes” to take place.
Desire, comes from research into the deep roots desire holds into identity and all facets of identity (relationships and communication). Working from Lacan, the work reckons with desire as an over-arching motivator for identity construction. The implementation of fantasy, as means of satisfying the vanity of the ego, and the development of personal identity is positioned as a mechanical process and dominant societal apparatus. Embodying strategies of removing essential parts for the smooth functioning in this absolute-fantasy-machine are essentially the movement practices of the work – the body needs breath or desires breath? How many objects can you desire in the space at once? What is your perfect place?
Of course the two parts are blended. The work is a reverse-striptease articulating the chronology of this first Fall when the first bodies discovered they were nude, stripped themselves of grace, and clothed themselves, marking our entry into language. I would like to say that this coincides with the first time desire was felt. When the first bodies saw themselves as perfect (as fantasy) and desired one another (or themselves).
made and performed by Benjamin Kamino
Yvonne Ng, Serge Benathon, the dance made in canada team, my interferencias peeps (interferencias.info), el Centro de las Artes San Luis Potosi, Matt John Robinson, Sam Carter-Shamai, Alex Kamino, Gabby Kamino, Time Kamino, Joshua Barndt, Leah Goldstein, Jeanne Holmes with the CDF and Caitlin McKee, Donna Spencer with the DOTE and Firehall Arts Center team (Vancouver).
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